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save-a-forest-ride-a-bear · 25 days

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🗒 ꒰⸝⸝₊ General Dating Headcanons ❛ ✧

Featuring: Astarion, Gale, Wyll & Halsin

# Note: content warning for very brief talk of abuse and general trauma back to navigation ´ˎ˗

🌿┊ASTARION

Talk about touch and attention starved. This guy wouldn't know a healthy relationship if it hit him in the face. Whenever you're nice to him or touch him without any innuendo, he's on edge. You must want something from him. Why else would you be doing this? It doesn't make sense.

Speaking of which, touching him out of nowhere usually doesn't end well. He has a tendency to flinch. He cackles and says he just thought he saw a bug, "Silly me," but you both know better than that.

He grows used to it, however. It just takes some warming up to. Eventually, the discomfort fades, replaced by a yearning so strong he swore he felt his heart beat again. When his brain realizes you don't want to hurt him and it's safe to be around you, he starts craving more contact. He's too prideful to ask, but he's not good at hiding it, either.

He loves any kind of compliment, don't get him wrong, but the ones that have nothing to do with his appearance seem to stick more. He's heard every single little praise possible for his face and body — but for his personality? For his mannerisms? If it ever happened before, he can't remember it.

Insists he doesn't like cuddling and only does it because you want to. But the one night you didn't, you woke up to him clinging to you anyway. He said he must've done so in his sleep, completely ignoring the fact elves can't sleep. Deception: critical failure.

Surprisingly protective. If you get hurt during a fight he goes ham on the enemy while yelling for someone else to take care of your wounds right now. He lost everything he had after Cazador — lost even himself to the hands of that sick, wicked man. He can't afford to lose you too.

The relationship started with him trying to manipulate you, sure, but that's not the case anymore. He cares. He genuinely cares for something other than himself for the first time in two centuries, and he's scared you still think you're being tricked by his charms. Again, he's too prideful for constant displays of affection, but he does say "I love you" more often than ever. Maybe if he says it enough times, you'll believe it.

He stares a lot. There's just something so endearing about seeing you in your own little world, oblivious to everything else, or at least oblivious to his gawking. It's the most honest part of you, the most yourself you could be, and he enjoys it from afar.

🌿┊GALE

So needy. You leave him at camp for a few hours and you come back to him acting like he needs to be sent to the seaside for his health. A year of living as a hermit does things to a man's necessities for attention.

Loves your scent. He doesn't share his clothes with anyone (that fabric is expensive, dammit), but he insists you wear them so that they smell like you later.

Despite being a cat owner, he's very dog-coded. Will do things with the sole purpose of receiving praise or kisses from you and gets extremely pouty when he doesn't.

Speaking of kisses, he takes any excuse conceivable to kiss you. Good morning, good night and good luck kisses are very much mandatory. Doesn't even have to be on his lips, he's more than satisfied with a cheek or forehead kiss as well.

He enjoys being taken care of, even if he complains. When you scold him for not sleeping over some ancient tome, he can't help but feel loved. Will return the favour, of course — especially if it comes to food. He's very insistent with the "three meals a day" thing.

Will read to you, there's no way around it. It's relaxing for both of you, so he doesn't see why he shouldn't. He also says he can pay attention better to the text when he says it out loud, anyway. You having your head on his lap as he does it is merely a bonus.

🌿┊WYLL

If this man has any flaw, it's that he's always trying to make every moment you spend together perfect and forgets to just lay back and enjoy himself. Even then, he only does it because of how much he loves you.

The last romantic! Goes all out with dates and gifts — fancy restaurants and the biggest bouquets you've ever seen. Money is no object when it comes to you. Truly a good old-fashioned lover boy.

Definitely has a saviour complex — the type to say "I can fix them" unironically. He just loved you and wants you to be okay, and if he has to drag you there himself he will.

Will go on rants about how smitten he is with you and how perfect you are on a daily basis. If you have to leave for the day, he'll write it as a love letter instead.

Always holding you close, but there's no possessiveness to it. It's a display of affection, not ownership. He's yours as much as you are his.

Loves taking showers together. Not for any sexual reason (though he wouldn't complain if things ended up going down that path), he just finds it incredibly intimate and genuinely enjoys washing your hair for you.

You're not just another romance to him — you're the love of his life, the person he wants to spend the rest of his life with, if the gods allow it.

🌿┊HALSIN

Despite the whole "Desire flourishes wherever it finds purchase" thing, he genuinely doesn't see himself falling for anyone else as he did for you. It's nice to know he could still indulge if he wanted, but for now, he doesn't.

Loves having his hair played with. There's just something so soothing about it. Or maybe it's his wild shape talking, asking for pets. We'll never know.

Always finds an excuse for you to sit on his lap. Again, not for sexual reasons, he just likes wrapping his arms around you and resting his chin on your head or shoulder.

Even though he isn't one for commitment, he has a constant, extremely severe case of baby fever. He obviously wouldn't push you if you're not ready, but he does make his sentiments on the matter known.

Stepping dangerously close to smut territory with this one, but he loves how small you are compared to him. The way he engulfs you entirely when he hugs you or how your hand disappears under his as he holds it — it's endearing to him.

I cannot go without mentioning how good his hugs are. Like, seriously. He's so warm and gentle but still strong and it makes you feel safe. It's the best thing in Faerun.

Loves how you look like wearing his clothes. It ties into the size difference thing, since they just look huge on you. Also, much like Gale, he has a thing for your scent, so there's really no downsides.

#bg3 #bg3 x reader #baldurs gate 3 #baldurs gate 3 x reader #astarion x reader #gale dekarios x reader #gale of waterdeep x reader #wyll ravengard x reader #halsin x reader #bg3 headcanons

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risuola · 2 months

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▶ MOM ISSUES — late night talks, cuddles and lots of theatrics. that's what living with your boys mean, but your mom seems to see it a little differently.

contents: college!au, roommates, sa/domestic violence mentioned (it has nothing to do with the story, but it's a warning nonetheless) — 0,8k words

a/n: there it is! i've been thinking about this story for months, drafting dozens of scenarios and finally it's happening! this series will be made of short pieces about three best friends turned roommates that slowly realize there's more to it than just friendship. it's not gonna be chronological, more so a series of random moments from their adventure - in the masterlist i'll try and organize it in an order, more or less. also, as you read it, can you hear Suguru's nagging voice when he calls Satoru's name or is it just me?

𝙇𝙊𝙑𝙀 𝙈𝙀𝘿𝙇𝙀𝙔 | series masterlist

First thing you learned at the beginning of your university journey is that no amount of sleepovers and cuddles could ever justify sharing an apartment with two grown ass men. To your mom, at least, because once you told her that you and your two best friends – Satoru and Suguru – are going to live together, there’s not a single phone call that goes without her assuming you’re being regularly subjected to domestic violence and sexual harassment. They are men, she always tells you and it’s been long since you’ve given up any attempts to tell her otherwise. They were futile after all and what surprised you the most was that your boys are no strangers to her.

With a low grunt you made your way above Satoru’s ass and dropped onto the mattress in the middle. Both men shot you a short glance before resuming their things – the white haired one was playing a game on his phone and the brunette was reading a book.

“How’s mom?” Gojo broke the silence, cutting the thick tension around you with his voice. “Still convinced we’re fucking you dumb every night?”

“Satoru–“ Geto was quick to nag his friend and his manners (lack of them, actually), and the other one didn’t skip a beat before defensively asking “what?”

“No, it’s fine,” you sighed, covering your face with your hands, hoping to squeeze out some stress out of your head that way. “I can’t believe it. She knows you two for over a decade and it’s only now that she’s absolutely convinced I’m being abused even though she knows I’m safe with you.”

“She used to feed us cookies and now what?” Satoru gasped, his theatrics reaching a critical point as he dropped his phone onto the pillow and fake-sniffled dramatically, clutching the fabric of his white shirt over his chest.

“Do you want me to give her a call?” Suguru offered, now focused more on you than on his book. He reached to you, pulling your hands away from your face and brushing some stray hairs away from your forehead. There’s a delicacy to his movements, a subtleness that the other one of your friends lacks and you’re yet again made aware of it, when Gojo throws his arm over your middle, pulling you towards his body as if you weighted nothing.

“No, Sugu, it’s pointless,” you replied, exhaling deeply and patting the strong grip away before it got a chance to suffocate you. The very aggressive cuddle only got more intense and for a brief moment you thought Satoru wanted to squeeze you out like a toothpaste. “Besides, we all know that whenever she talks to any of you, she’s as sweet as honey. It’s only me who has to listen to her weird assumptions.”

Gojo scoffed and giggled at the same time, a huff of air brushed against your cheek as he nuzzled his nose right next to your temple, threatening to bite your cheek. “Told you she’s gonna get addicted to criminal podcasts when you were introducing her to Spotify and you didn’t listen to me,” he said in a light tone and the few seconds of silence that followed made your heart skip few beats. Any sudden loss of words is always a bad sign when it comes to the blue-eyed princess. “Does your mom know about our sleeping situation?”

“Oh god, no,” you whined, pushing his face away before his teeth sunk into the flesh of your cheek that he always insists, reminds him of mochi. Sugar addict.

“Should I accidentally send her a selfie with our bed in the background? On the group chat?”

“Satoru.” Suguru grunted, nagging again and visibly reconsidering all the life choices that led him to being friends with Gojo. You knew that look, you saw it many times over years of friendship with them.

“You can do that, Toru,” you replied, your tone dead serious. “But if you dare, I will change my number into yours in her phone and you’ll be the recipient of the shitshow it will cause. And you know the hell will break loose.”

“Throughout heaven and hell, you alone will be the fucked up one,” Geto mused, pressing the dark red, hand-painted bookmark that you gifted him a year prior, between the pages of his book, ultimately deciding that it’s enough of reading for today.

“Point taken, no pictures then,” Satoru hummed and nodded once, ignoring the obnoxious insult and he let go of you, suddenly not overly dramatic anymore. He got back into indulging his phone-gaming addiction.

You let out a small sound of resignation and helplessness and crawled underneath the sheets. Suguru soon joined you on the pillows and as you quietly chatted the time away, Gojo fell asleep, nuzzled between your shoulder blades.

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lackadaisycats · 1 year

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I tried to answer this succinctly, but it turned into an essay. (Sorry.)

The Princess and the Frog was not accurate, strictly speaking, but dinging it for that would be like criticizing the Lion King for not being a realistic wildlife documentary. Accuracy wasn't really the point. Given the fantastical elements and fictional nations like “Maldonia”, I suppose we're meant to understand this as a bit removed from the real New Orleans. It's more a a jazz-flavored fairy tale than a historical fiction.

But for discussion's sake....

Is it fashion-accurate to its 1926 timeframe? Ehhh, sort of. It pays homage to 20s fashion trends with cloche hats, furs and feathery headpieces, but without fully committing to it. The waistline on almost all of Tiana's clothing is too high for the 20s, and the the shapes of her fancier costumes take a lot of liberties, or deviate wildly from the style of the period.

In the 20s, dresses (including workaday stuff) tended to have a straight up-and-down shape to it - kind of a low-waisted rectangle that de-emphasized curves instead of highlighting them. There are valid reasons to play fast and loose with that, though (something I’m definitely guilty of as well). One of those reasons is communication.

For instance, speculatively, the filmmakers wrote Tiana as a hard-working waitress and wanted her to look the part, so they made the choice to clothe her in something familiar - that gingham dress of mid-century shape that we broadly associate with diner waitresses. Actual waitress uniforms of the 20s had a fair bit of overlap with maid uniforms at the time too, and I can see why they wouldn't want to risk the confusion. It's more important to communicate clearly with the larger audience than to appease a small faction of fashion nerds who'd notice or care about the precision.

I don't think it's a case of the designers failing to do their research - I'm sure they had piles of references, and maybe even consultants - but they also had to have priorities.

With her hat and coat on, she looks a lot more 1920s-shaped.

Pretty consistently, the indication of the characteristic 1920s drop waist is there, but the approach otherwise ignores the 20s silhouette. The clothes hug the body too much. This may be about appealing to a 2000s audience, visually speaking, but also could be an animation thing. Maybe both. For practical reasons, clothes in 2d animation are usually more a sort of second skin than something that wears or behaves like realistic fabric.

These are not in the 1920s ballpark at all. Tiana's blue gown looks like your basic Disney brand invention. Strapless things would have been extremely unusual and the overall shape is far out of step. Excusable, I guess, because it's a costume in context. Charlotte looks like she’s heading for a mimosa brunch in a modern maxi dress.

Charlotte's princess dress did seem to be calling back to the ultra-wide pannier side hoops of the 18th century - something that made a reappearance for part of the 20s, albeit in much milder form called robe de style. I'm not sure if the filmmakers were alluding to that at all, really, but either way, her dress is hilarious.

They only went about halfway with the cloche hats. The 1920s cloche really encapsulated the cranium, almost entirely covered bobbed hair, and obscured much of the face from certain angles, so it's easy to see why they've been somewhat reined in for the film. Still, it ends up looking more 1930s, where the hats started to recede away from the face, evolving in the direction of the pillbox.

Similarly, Tiana's hair is not very reminiscent of the bobbed, close-to-the-cranium style of the period, but I think that could legitimately be written off as characterization. She's not at all the type of person who'd fuss about going à la mode. Not everyone bobbed and finger-waved their hair.

The clothes Prince Naveen is introduced in are very 1920s collegiate in spirit - the wide-leg oxford bags, the sleeveless pullover sweater, the flat cap, and high, stiff collar. The ukulele and banjolele were pretty trendy instruments at the time too.

Definitely some Josephine Baker vibes here. Also, the look of this whole fantasy sequence was reportedly inspired by the works of Aaron Douglas, a luminary painter of the Harlem Renaissance known for his depictions of the lives of African-Americans. (The mural is in Topeka, Kansas.)

They pretty much nailed the Art Deco. It's gorgeous. Looks somewhat inspired by the interiors of some of the Ralph Walker-designed NYC architecture, plus some French Quarter balcony flair for the final manifestation of Tiana's Place. Her dress here does resemble some gauzy mid-1920s looks, too.

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Culturally speaking...

New Orleans is an unusual place. Because some of the colonial Spanish and French laws and conventions that New Orleans evolved under persisted even after its inception into the United States; because it was such a heterogeneous hub of indigenous and immigrant peoples; and because it had a considerable population of free people of color (mostly Creole), it did not function quite like the rest of the South leading up to the Civil War, nor for a while after. Its particular coalescence of cultures made it its own unique sort of culture within the country, within the region, within the state of Louisiana even. By the early 20th century, though, regardless of the not-very-binary nature of New Orleans, Jim Crow laws were enforcing a literal black-and-white distinction, and not an evenhanded one, by far. In that aspect, the city had begun to resemble the rest of the South.

The film nods at the wealth disparity, but goes on to paint a pretty rosy picture of race and class relations at the time. Still it's not unbelievable that some people were exceptions to the rules. You could probably find a few compartments of old New Orleans society that resisted segregation or certain prejudicial norms, preferring to do things their own way. That aside, the film wasn't trying to confront these topics. Not every piece of media should have to. Sometimes breaking away from miserable period piece stereotypes is refreshing. I'm not sure it could have handled that meaningfully given the running time, narrow story focus, and intended audience, anyhow. (But you could perhaps also make a case that family films habitually underestimate younger audiences in this way.)

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Raymond the firefly I guess is the film's Cajun representation. There's not much to say about it, except perhaps to note that Evangeline is a reference to the heroine of a Longfellow poem of the same name. The poem is an epic romance set during the expulsion of the Acadians from the eastern provinces of Canada and the northernmost reaches of the American colonies (now Maine) by the British in the mid-1700s. Many exiled Acadians gradually migrated south to francophone-friendly Louisiana, settling into the prairies and bayous, where 'Acadian' truncated into the pronunciation 'Cajun'. Evangeline - who is only finally reunited with her love when he’s on his deathbed - has become an emblem of the heartbreak, separation and faithful hope of that cultural history, and there are parishes, statues and other landmarks named after the her throughout Louisiana.

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Voodoo does have a very historical presence in New Orleans, having arrived both directly from West Africa and by way of the Haitian diaspora (where it would more properly be called Vodou). While I don't think Disney's treatment of it was especially sensitive or serious, it also wasn't the grotesquely off-base sort of thing that media of the past has been known to do. It was largely whittled down to a magical plot component, but it wasn't so fully repurposed that it didn't resemble Voodoo at all either - and that's mostly owing to the characters, because it does appear the writers pulled from history there.

It’s apparently widely held that Dr. Facilier is a Baron Samedi caricature - and likely that's true, in part - but I have the impression he's also influenced by Doctor John. Not the 20th century funk musician, but the antebellum “Voodoo King” of New Orleans. Doctor John (also called Bayou John, Jean La Ficelle, and other aliases) claimed to be a Senegalese prince. He became well known as a potion man and romance-focused prognosticator to people from all corners of society. Though highly celebrated and financially successful at his peak, he seems ultimately remembered as an exploitative villain.

To my recollection, the film sort of gingerly avoids referring to Facilier as a Voodoo practitioner directly (I think he's more generically called a witch doctor in the script?) but it does seem to imply his 'friends on the other side' are a consortium of loa. It's mostly abbreviated into nebulously evil-seeming special FX, glazing over any specificity or dimensionality, but it does also loop back around as a vehicle of moral justice. Loa are all very individualistic and multi-faceted, but they do have reciprocal rules for asking favors of them.

There's also the benevolent counterpart in Mama Odie's character. Her wearing ritual whites has a definite basis in Voodoo/Vodou practice, and her depiction as a fairy godmother-like figure isn't entirely out of step with how a mambo may have been perceived...in a very general sense. They were/are ceremonial leaders and community bastions who people would seek out for help, advice and spiritual guidance. More than just emanating matronly good vibes, though, some have wielded considerable political and economic power.

(Just my opinions here. I've done a lot of reading on the subject for research but I'm no authority with any special insider understanding of Voodoo, and I really shouldn't be relied upon as an arbiter of who has or hasn't done it justice in fiction.)

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In summary--

Culturally, I think the film is respectably informed but paints a superficially genteel picture. The set pieces are gorgeous, but the story mostly delivers a sort of veneer of New Orleanishness. And as for fashion, well, it’s the 1920s run through a Disney filter. It’s very pretty, but it’s only as proximally accurate as seemed practical.

I don’t know that any of that really matters so much as whether or not it achieved what it intended, though. As a charming yarn and as a tribute to New Orleans and the Jazz age, I think it’s mostly successful. It’s also really beautifully animated!

#princess and the frog #disney #1920s #new orleans #jazz #fashion #voodoo #vodou #history #animation #art deco

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justporo · 7 months

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A Night of Staying In

After all the doom and gloom in other writing I really needed some cutesy fluff to feel myself again - and also to give Astarion and Tav a break.

Summary: So have Tav and Astarion just enjoying a cozy night in - also Astarion gets a carrot hurled at his face.

Pairing: Astarion/GN!Tav Warnings: Mention of sex, a carrot gets thrown and then murdered Wordcount: 2,2k

Delicious smells of slowly cooking meats and vegetables, spices and a forgotten mint tea were wafting through the kitchen of your cozy little townhouse.

You were bustling around the well-equipped kitchen. The apron you were wearing was full of stains and its pockets full of cooking utensils – even a half-full spoon absent-mindedly tugged away in one of them. It was slowly leaking through the linen with something on it that looked like blood – but was simply a tomatoey sauce. Your hair was messily put up in a bun, but several strands of hair had fallen out of it and you looked only so far from a mental breakdown.

At the kitchen table Astarion was sitting with a lantern, bowing over an embroidery project. He had the very bright lantern you’d gifted him specifically for this purpose directly next to him, but he was still squinting at his work and holding it so close his nose was almost touching the fabric. He looked a lot less demented than you but still very absent-minded.

Fabrics and threads were strewn all about the wooden table. Different needles were glinting everywhere on it too. One could only hope that those would be remembered at some point – preferably before someone stuck them in their fingers.

Next to him were also laying some loose papers, a feather and an ink pot with lots of writing that was then crossed out again and also some small little doodles on the corners – one for whatever reason happened to be a goose with a knife in its beak.

You had several pots on the iron stove and something about to go in the oven as well. Critically you were moving around between all of these things, clattering with copper pot lids, jars of ingredients and spoons to try the food (always in the same pattern: grabbing a new spoon, trying something, putting the spoon in the dish bowl full of dirty water – then having to grab a new spoon). You had some potatoes boiling and in another pot you had been cooking a mixture of vegetables and beef for quite some time. You wanted to recreate a recipe of cottage pie that you had once tried many years ago in a tavern and had kept reappearing in your dreams. And now you finally had the kitchen and the tools to try and cook it yourself!

But it seemed impossible to get it right, this already being your fourth attempt this week. The vampire had already been moaning that you had basically force-fed him the meal because you had no way of eating that much pie on your own. It was not, that the finished pies hadn’t tasted well, but they just weren’t like you remembered. But you started to think that it might be your memory that was tricking you and not your cooking skills.

You went to try the pie filling again after adding some more spices and dash more red wine (directly from your goblet because you didn’t seem to remember where you put the bottle).

As soon as the spoonful hit your tongue you knew you had done it – finally.

You shrieked and immediately heard another shriek behind you in reply. You turned around to Astarion with glee and saw how the vampire was staring at you angrily and shaking his hand. It didn’t take a genius to figure out your sudden excitement had caused him to stab himself with his needle.

“Darling, can you maybe not scream like a dying goblin, I was concentrating!”, he hissed at you. Your joy evaporated at his flare of anger – so you turned around again, grabbed a left over half of carrot and threw it at Astarion – and maybe a bit more forceful than would have been necessary.

But he was still a rogue and dodged the vegetable easily. It flew against one of the cabinets and then to the ground. There it stayed until Scratch came into the kitchen, drawn there by the sudden noises. The dog sniffed at the piece of vegetable, then grabbed it and went off again.

“Oh really, are we at the ‘I throw stuff at my lover’ point of our relationship now, love?”, Astarion replied to your responsive outburst of anger with a raised eyebrow. “Am I going to have to sleep on the sofa next?”, he continued sassily.

Your hand itched to grab more produce – there were some potatoes still laying around and they made for excellent improvised throwing weapons. But you saw the smirk that played around the vampire’s lips. So you settled for a verbal rebuttal.

“Don’t be such a prick and you can keep sleeping inside”, you said and flipped him off. Then you turned around again to your cooking and grabbed – yet another – spoon and scooped up some of the filling. The vampire mumbled something under his breath about he wouldn’t have to be a prick if you didn’t make him prick himself.

“Oh, that would be so gracious of you, my dear lady, if I was still allowed in your shining presence”, Astarion then said loudly as you were busy with the pots. The tone still very sassy but you heard the playfulness in it now and knew he was now only teasing.

You went over to him, with one hand under the spoon full of hot goodness that immediately started dripping and burning your hand. You winced but kept going.

“Here, try this – I think I got it now”, you said as you stood in front of Astarion who had put down his needlework for the time being. He threw you a pained look: “Love, if you keep feeding me this I think I might actually start to get a pot belly.”

You snorted at him and eyed what you could see of his upper body. “Pretty sure, you will never have to worry about this kind of thing. Now. Try. It”, you answered and insistingly came closer with the spoon.

Astarion sighed, gave you another suffering look and then let himself be fed. His doubtful expression quickly changed to what you interpreted as pleasantly surprised.

“Alright, I take everything back, that was well worth the scream of enlightenment, my sweet. That tastes wonderful”, the vampire said and grinned at you.

“See, wasn’t so hard, was it”, you said and gave him a quick peck on the lips as you could see his face changing to annoyance once more at your petty remark.

You threw the spoon in the dish bowl and rubbed your hands on your apron and started to get everything ready for the final step of the recipe. Meanwhile you said to Astarion: “So, darling, could you write down the following: one and a half cups of red wine and three instead of two sprigs of thyme and just loads of black pepper.”

“Of course, my darling chef”, Astarion replied cheerfully and grabbed the feather and papers laying next to him to write it down. “Any other changes?”

“No, this will be it”, you responded and happily clapped your hands before you put your filling in a cast iron pan, mashed and seasoned the potatoes and then put them down as the topping of your pie. The final touch was some hearty cheese sprinkled on top. Then you put it all in the oven.

In the meantime, you heard the feather scratching over the paper.

“What are you doing, Astarion?”, you asked as you took off the oven mitts from pushing the pan in to cook.

“Just putting the recipe in clean writing for you, my heart”, the vampire replied as he kept looking through older versions and notes on the papers. Brows furrowed as he was concentrating on it.

“That’s sweet, love, thank you”, you said to him but he didn’t reply and probably hadn’t even noticed. Of course – if you said something actually nice you fell on deaf ears.

So you decided to thank him with another gesture. You grabbed another goblet to pour your vampire a cup of wine but as you looked around to find the opened bottle you saw that it had been next to Astarion with an already filled cup all along.

You gave up and sat down across the table with your own cup of wine as Astarion finished up writing. You put one leg up on the bench and hugged it to your chest, head on top of the knee and watched the pale elf.

“Here you go, my sweet”, the vampire exclaimed cheerfully after a few more moments and handed you the finished recipe that was now written cleanly in his neat and beautiful handwriting. ‘Tav’s specialty cottage pie’ stood atop the page and next to it was a little doodle of some steaming hot pie.

You smiled broadly at Astarion: “Thank you, darling.” Then you shortly leaned on the table, almost climbing over it to give him a kiss while carefully trying to avoid the needles.

“Do you sometimes wonder how we ended up like this?”, you softly asked him after you had read through the finished recipe.

“Like what?”

“Well, like this – all domestic. I’m cooking, you’re embroidering, we’re bickering like an old married couple, drinking wine and just enjoying a cozy night in instead of wreaking havoc somewhere out there”, you said and waved vaguely in the direction of the city beyond the walls of your home. Then you took another sip of wine.

“Let’s be honest with ourselves, we’ve been bickering like that from the moment we met”, Astarion answered and looked at you sternly. You shrugged in agreement.

“As for the rest – well, are you enjoying the way we spend our nights like this sometimes? Because if you’re bored-“

“No no, I’m enjoying this an awful lot. It’s just – this is somehow the most unlike turn of events don’t you think? Like, I sometimes can’t believe we actually ended up in the version where we’ll live happily ever after”, you said and cradled your face in your hand not currently holding a cup of wine.

At your words a warm and adoring smile crept onto Astarion’s face.

“Are you though?”, you asked then.

“Hm?”

“Are you enjoying these kinds of nights?”, you asked Astarion again and lifted your head up to look straight at him.

The vampire looked at you, smile still playing around his lips: “Well, my love, after two hundred years full of godsdamned shit I am enjoying this sort of mundanity quite a lot. And I enjoy it even more because I get to spend it with you. I might even enjoy doing the dishes with you later on – unless you don’t splash me like last time.”

You smiled at him too now, broadly – feeling incredibly lucky that you had indeed taken all the right turns that had led you here, to this: sitting at this kitchen table with the love of your life, talking about doing the dishes.

“But if we ever get bored, my sweet, I have quite a lot of ideas on how to spice things up”, Astarion continued afterwards. The smile morphed into a lewd smirk and his red eyes sparkled mischievously: “For example, I could dramatically throw everything on this table to the ground, rip all your clothes off and have my way with you on this table until you forget your own name.”

His voice had suddenly become deep and smooth like dark molten chocolate. You bit your bottom lip as the mental image of his words set in and you just stared into his eyes point blank. Astarion still looked at you, not breaking eye contact, and his teasing smirk only growing.

“Nah”, you made after some more moments, “not tonight. My cottage pie would burn.” Your tone was matter-of-fact and you drank some more of your wine while still looking into the vampire’s eyes.

Then you both broke down laughing. So much so that you had to wipe tears from your eyes by the end and Astarion had his face buried in one of his hands while silent fits of laughter still shook through him.

“Alright”, he said and bit his lip, one of his fangs showing adorably as if he was a cat, “I’ll write it down for another date night then.” You broke out laughing again.

Until you could actually smell your food burning. With an “oh shit” you jumped up and pulled the pan out of the oven – you had saved it just in time.

You got out some plates and forks, and put some generous servings onto them. As you turned around your gaze fell onto the table full of Astarion’s embroidery supplies. Astarion saw your look, then waved it off, dismissing it.

He grabbed one of the filled plates from you and grabbed your then free hand to lead you to the living room. Scratch was there laying on his designated blanket, chewing on his favourite ball. Some telltale orange spots telling the tale of the fallen carrot.

You settled down on your sofa with your food – you swinging your legs over Astarion’s and getting cozy.

And this is where you stayed: eating until you felt like your belly might burst, joking until you were crying again, talking until you got so tired you almost drifted off into dreaming right then and there. And when you had went to bed: holding each other until you woke up in the other’s arms again.

#astarion #astarion x tav #baldurs gate #baldurs gate 3 #baldur's gate 3 #baldur's gate iii #astarion x reader #astarion x mc #baldurs gate astarion #astarion x oc #astarion x you #fanfic #fanfiction #astarion ancunin #bg3 spoilers #tav #one shot #drabble #poro fics

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sweet-as-an-angel · 1 year

Text

Ghost & König x Plus-Size Reader Headcanons

Warnings: Implied/meantioned smut, some 18+ content (vague), bodily insecurities mentioned, fluff, a whole lot of love, two men being so down bad for you that it's no laughing matter, implied physical assault (not on Reader), Fem Reader, Jealous Ghost is implied, Jealous Konig (for different reasons)

Ghost:

He is absolutely, indisputebly, so atrociously down bad for you.

He seriously can never get enough of you.

If you were EVER insecure about any part of you, and he found out about it, he'd just give you a look of pure confusion.

What do you mean your thighs make you sad sometimes??

They don't make him sad.

On the contrary, they bring him nothing but joy!

Especially when they're wrapped around his head.

Seriously though, he loves you regardless of your size, shape, weight, etc.

Loves cuddling you because you're always so warm.

Calls you his "perfect pocket heater." Usually rasping it in your ear when he's pressed up behind you in bed during the winter months.

Whenever he's called back on duty, he says he wishes he could just pack you into his bag and take you with him to keep him company (and warm).

His other nickname for you is "Muffin" (you'll see why later).

Loves squeezing you.

And cuddling you.

Anywhere and everywhere.

Wherever there is skin to grab and hold, by god, he'll hold it.

He doesn't poke or squeeze you in ways that can be construed as teasing, though, especially if you're self-conscious about yourself.

And if by some sheer act of ignorance or cruelty somebody else makes you feel bad about your weight.

💀

Next time you see them, they're an assault statistic on the evening news, one who is in "critical condition", at that.

Ghost loves having you on top of him btw.

Regardless of the intent, whether sexual or not, he loves feeling your weight on him.

It grounds him.

Reminds him that you're here, that you're real. That Ghost is capable of love and is allowed to be happy.

Also, quick note, Ghost ADORES seeing you in stockings.

Loves how the elastic squeezes your thighs and makes them spill over the fabric.

He always calls them his "little muffins".

He thinks it makes you look even more beautiful (if that's possible).

He's had to reprimand some of his colleagues for staring at you.

Though, he can't blame them: they all know you're gorgeous.

Feels like it would be a crime not to watch you.

Like visiting every other painting in a gallery except the Mona Lisa.

König:

Man is huge and built like a bear, but the second you sit on his lap, his spirit is GONE.

He loves when you lay in his arms like The Pietà; makes him feel strong. Trusted.

His favourite thing about you is your waist.

He just can't stop looking at it.

He loves the shape.

Is fascinated by it, watching it change shape slightly when you sit down.

"Why are you looking at me like that?"

"How...How does it do that (perform basic biology)?"

Truly, the female body is an enigma to König.

Though yours is not.

Like Ghost, he will grab onto any skin, fold and crevice he can get his hands onto (or into).

Worries if he's too big for you sometimes (in more ways than one) :-(

He lives for the weight of you on his thighs when you ride him.

Makes him feel secure, like he's paper and you're the paperweight.

And it makes him feel dependable 💪.

Also feels safe whenever he gets to play with your hands.

Loves your skin so much.

The texture, the veins, the wrinkles, the stretch marks; he goes feral for everything that is you.

You compare proportions sometimes.

König is strangely competitive when it comes to his thighs.

If you have bigger thighs than him, you're going to have to reassure him that yes, he is still your big bear, and yes, he is still very handsome. And yes, of course he's not too weak for you.

Proves it via the aforementioned riding sessions.

Is your #1 fan.

No dispute.

Oh, btw, if you wear any kind of leather or latex around him, he's hard until you take it off (or he takes it off you).

He just can't handle your silhouette.

Just does something to a man.

This man in particular.

That memory will haunt him in the best possible way for as long as tiem exists.

Proves kind of troublesome during missions though ngl.

You know, during times when König really needs to not be hard.

Would hammer anyone into the ground who made you feel insecure about yourself.

"König...when did you buy those red gloves?"

König, looking down at his blood-drenched hands: "Uhh...last week at the market?"

His nickname for you is "Cake."

Short and sweet. Just like you.

Unless you're tall. In that case tall and sweet lmao.

Reblog for more content like this! It helps creators like myself tremendously and it is greatly appreciated :-)

Masterlist Masterlist [Continued] Masterpost Modern Warfare AI Masterlist

AO3 Wattpad

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seamsterslocal · 1 year

Photo

summer binder picture tutorial

this is the third binder ive made for myself recently and the first one i’m writing up. it’s designed to do a few things: 1) allow me to put it on by myself without dislocating my shoulders 2) allow me to breathe well enough to partake in normal activity 3) be cool enough to wear throughout a muggy 90-100F summer 4) not constrict my ribs in a way that aggravates my lack of connective tissue and causes intense pain.

this has become necessary even though i had top surgery many years ago, because when i had it i was extremely skinny and since then i’ve increased in size by about 50%. this has been really fucking good for my health in every single way* except that when my chest is squishy or moves at all it’s So Goddamn Triggering for me. but also since ive had top surgery ive developed and/or been made away of a plethora of chronic conditions that make every single commercially available binding option medically impossible. unbound, my chest is pretty much what you’d expect for a chubby cis guy but venturing out into the world in just a tshirt no longer works for me

*anyone who badmouths weight gain or fat bodies in the notes WILL be blocked

under the cut are a bunch of process pictures and explanations of what they all mean:

first i’ll give you a look at the pieces and measurements:

most of the seams are sewn in this picture and one half is turned inside out, allowing you to see both the finished dimensions (right) and the placement of the fusible horsehair canvas that gives this lil scrap of linen any structure at all (left)

to get your chest measurement, you’re gonna have to do some math:

first measure above and below what you want to bind. average these numbers. mine are something like 32 and 34, which average to 33. subtract a few inches--this is to allow the air movement between the laces at center front and back, critical in the summertime. i deleted 3 inches bc i like that number but you can go bigger if you want. the more inches you subtract here, the more youll be able to ratchet all your chest material down later, but at the same time you need to leave enough fabric for a sturdy garment. let’s say a range of 2-6 inches/5-15cm. by taking your measurements this way, you’re essentially measuring the chest you would like to have. that + the horsehair canvas work together to compress any squishy tissue/force anything that doesnt compress up and to the outside (basically into the armpit/lower shoulder--the chest might stick out but it will give a very puffed chest captain america pectoral silhouette)

you can also see how ive clipped my curves and pre-drilled my lacing holes. i used the marlin spike on my knife to open up the holes on the interfacing side, mainly as a way of marking them. this worked well bc the interfacing’s glue kept the linen from raveling

this is the same stage but looking at the non-interfaced grey linen/cotton blend (the black is some 100% linen from my cabbage stash). you can see ive broken the solar-plexus-to-back measurement up into a bunch of pieces to save on fabric but that’s not necessary. my original pattern was just two pieces (front and back) and chopping the straps into thirds on both sides was aesthetic

in the following picture you can really see how this is really just overgrown regency stays:

i thought about doing side lacing but didn’t think that would be comfortable for me. on the front, the side seam allowance was pressed inwards before turning to create a finished looking slot. on the back the side seam is left unfinished with an extra wide seam allowance, and is inserted into that slot.

here’s a closeup on it pinned in place (you can adjust the angle of the side seam and the fit during this pinning stage):

that side seam was just topstitched in place once i had the fit how i liked it, and the armhole was reinforced with more topstitching

alright, time for eyelets: first, you can see how well the marking worked:

next, two rows of basted eyelets (left), one row of eyelets sewn with a doubled and waxed cotton thread (center right), and one row of eyelets opened and stainless steel rings placed (right).

next time i’m going to mark the eyelets same as i did above, but do this step differently--i’ll mark and baste the steel rings in place BEFORE widening the eyelets. this is bc i had a lot of problems keeping the eyelets on center

eyelets half done on this one! on the left are eyelets sewn with doubled and waxed cotton thread and on the right eyelets sewn with quadrupled and waxed thread. the center is basting again. i was able to force the holes back in line while sewing the eyelets but it was kinda annoying. adding a second picture that doesnt have great focus but hopefully shows how that process worked and shows the spike clearly

i ended up using this white cotton thread because it’s stronger than my black cotton thread (which the rest of it is sewn with). [eta: after this was first posted, i pressed the whole thing heavily, which effectively de-waxed the thread, and i dyed the whole thing a medium charcoal grey, the thread blends in perfectly on the lighter side and isn’t such a sore thumb on the darker side]

bonus: the piecing layout for that little piece of strap. the whole light gray half of the binder was made from 1/2 of one of the legs i cut off some linen suit pants to make slutty camping shorts last year and i really really didn’t want to break into any of the other three halves for this garment--i have Plans for it

overall the fit of this is incredible. it DOESNT hurt my ribs which every zip-up garment ive been able to find (and it is difficult) does due to really thick elastic at the base. it doesnt aggravate my sensory issues with the synthetic fibers that every commercial option is made of. i can walk up a hill or stairs, or go to pt, without getting too out of breath. i can eat with it tight, or loosen the front easily and without taking it off to make eating easier and less nausea-inducing. it is reversible!

best of all the lacing at the back gives the garment enough movement for me to get it on without dislocating, and the interfacing and steel rings give it structure once it’s on. the shaping comes only from fusible horsehair linen canvas and stainless steel rings like youd use for chainmail, there’s no boning at all, which makes it very quick to sew (except the eyelets, but metal grommets would be sturdy and quick provided theyre of good quality)

there’s a small amount of gaping on the outside of the shoulder strap, which i plan on fixing with a tiny tiny dart in the armpit, i want to add pockets to tuck the laces into, and i need a better lace for the back, but it’s completely wearable in time for the 90 weather next week which is all i wanted. i’ll do a reblog when it’s perfectly finished with an update on the fit but for now it is done enough

the little ridge where it doesnt lay flat against the shoulder is most visible with just a single t shirt over it. with a flannel or a sweater, it disappears, and by itself, it’s hidden in movement

eta: after dyeing this, i relaced it a bit looser in the back and that gape mainly disappeared. ive decided to leave it in instead of smoothing it with a dart because the loose fabric gives space for my chest to expand when breathing and shapes my silhouette in a way that emphasizes my shoulders

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shuttershocky · 23 days

Note

What do you think of Nasu basically spoiling Mahoyo 2 in FGO, even though Mahoyo 2 doesn't exist (yet)?

lol

lmao even

I will make an even better call.

He did not stop at spoiling Mahoyo 2, a VN that doesn't exist in any way, shape, or form yet. No. In fact, Nasu has gone above and beyond, also spoiling a critical new story element for the Tsukihime Remake's Red Garden, hidden inside the Mahoyo event.

Why do I say this? There's a scene in the collab event where the gang discusses the matter of reviving the dead. Aoko's little incident at the end of Mahoyo inevitably gets brought up, but Alice shuts down the notion that Aoko can revive the dead, because what Aoko does is time fraud, essentially running a scam, and therefore does not count.

If you are killed, but Aoko makes it so you don't die, she does so by taking the time you were killed and propelling it into the far future, way after you would die of old age anyway. In Mahoyo, Touko is aghast at the methodology because messing with time would absolutely incur some kind of terrible debt to the fabric of reality that will have to be paid eventually, while in FGO, Alice believes it doesn't count as reviving the dead, probably because you never died (because the time that you died is far, far sway).

What does this have to do with Tsukihime?

Now, in the original Tsukihime, Shiki was basically a dead man walking; his body was animated by Akiha's life-force / soul after saving her from an inverting SHIKI, and while it's never explained beyond "Akiha has powers no one else in her oni family has", no mage has been able to revive the dead, or keep a body that can no longer live on its own moving by making it a parasite on their own life. Others that cheat death such as Touko or Roa (or Meltryllis in FGO) move bodies instead, they cannot save a body that has been damaged beyond saving.

Only Aoko and Akiha have done that.

Now, we know due to some bad ends in the Tsukihime Remake that Shiki is still unknowingly dependent on Akiha, because she's able to control his life and even make him pass out by cutting him off (at least until he gets possessed by Roa), BUT we don't know if the accident with SHIKI was the only thing that happened in the past.

The Tsukihime Remake no longer takes place in Misaki town like the original did. This means that Shiki no longer encounters Aoko walking around her home town. She would have had to go to a hospital in Souya town, and coincidentally run into 9 year old Shiki terrified of seeing death everywhere.

I don't buy that their meeting was a coincidence anymore. I think Aoko knew he would be there.

There is now an unexplained gap between when Roa was Elesia, and when he was SHIKI. In the original timeline, Elesia would have been born around 1975 and fully overwritten by Roa when she was 16, or at 1991. If Arcueid killed her quickly, Roa would have had to find a new host fast, and the incident with SHIKI happened in 1992, 8 years before the events of Tsukihime. No gap.

But now, Arcueid defeats the possessed Elesia in 2001, and the incident with SHIKI doesn't happen until 2006 (8 years before the events of the Tsukihime Remake in 2014). There's now a 5 year gap.

Now, Nasu might just be really bad at mathing out his timeline, but based on entirely no evidence whatsoever, I'm gonna say the 5 year gap between Roa's victims is intentional.

Roa had one more victim in between Elesia and SHIKI, which would be Shiki himself, way before Shiki would gain the Mystic Eyes of Death Perception.

Roa got confused. He meant to target Tohno SHIKI, heir to the powerful Tohno family, and instead got Tohno Shiki, their child slave whose family name got replaced. Roa goes wild inside a Nanaya's body, but ends up running into Aoko (who we know due to Melty Blood Type-Lumina that she has orders from the Clock Tower to defeat and interrogate Roa), who gives him the fuck you laser and incinerates Roa in an instant. Roa gets told by Dr Arach (who is obviously a fucking vampire) that he had the wrong Shiki all this time, while Aoko uses her bullshit to restore Shiki himself.

Unlike with Ciel, whose soul is now "Roa" and thus became immortal because she cannot die while Roa is still recognized by the World as alive, Aoko's method of reviving the dead doesn't heal them of death, she just magics all that shit away.

This makes Shiki avoid the magic loophole that Ciel gets trapped in, becoming an ordinary boy again with no vampiric connection (because Aoko made the whole incident never happen).

That distinction is important, because not dying when being killed is why Shiki has the Mystic Eyes of Death Perception in the first place. He experienced death and his mind now comprehends its true nature. Aoko reviving him doesn't trigger it because like Alice says, Aoko doesn't revive the dead.

Akiha on the other hand, triggers it because Shiki was mortally wounded and his life can no longer move his body, instead relying on Akiha's life force to survive. This makes Shiki dead but functionally alive, manifesting the mystic eyes of death perception.

When Aoko heard that the little boy she unkilled somehow managed to die again just a little later only to reawaken at the hospital, she had to come and see him for herself, leading to that fateful meeting outside the hospital.

TL;DR - Mahoyo event spoils that Roa in the Remake timeline switches it up, possessing Shiki first before ever touching SHIKI, which Aoko deals with.

_____

I have zero proof about any of this by the way which is why it sounds like complete bullshit, because it is. I just saw an opportunity to post Tsukihime Remake speculation on a barely related topic and ran away with it.

BUT, consider this: I correctly predicted that in the Remake Arcueid route, Roa would see a skull staring at him when he finally realizes Shiki is "Death". I know what Nasu plans for Tsukihime, it is all revealed to me in my dreams.

#Tsukihime

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diedikind · 2 months

Text

the first chapter of TGCF “spoils” the entire novel

The two stories presented in the first chapter / prologue of tgcf act as miniatures of the larger story/theme.

The first story, “Upon the Grand Avenue of Divine Might, A Fleeting Glimpse of Beauty”:

“At the Heavenly Ceremonial Procession, the God-Pleasing Warrior wore a golden mask. Dressed in glamorous attire and with a sacred sword in hand, he played the role of the subduer of evil, the number one martial god for the past thousand years: the Heavenly Emperor, Jun Wu.”

Here it’s hinted that Jun Wu wears a mask but more importantly Xie Lian was “supposed” to become Jun Wu. In the revised version he has the nickname “Little Jun Wu”. Interpreting the idea of a mask in two ways:

Bai Wuxiang wears a physical mask but

Jun Wu also wears a metaphorical mask insofar as he hides his true identity under three layers: A. His literal identity as evidenced by “After blood-washing the heavens, he returned to the mortal realm, patiently waited for a while, crafted a new name, and fabricated a new identity. As a 'human,' he 'ascended' once again. All the former divine priests of the heavens perished, leaving no one to know who he truly was, nor did anyone know what he was like before. Now, the widely circulated tales of the ‘Heavenly Martial Emperor'—his origins, anecdotes, amusing stories, appearance, temperament... all are false, intricately woven lies by him!" B. His hatred / what he truly thinks or feels about the common people and the world as evidenced by: “Now, he is the number one Martial God of the heavens, radiant and glorious on the surface. Yet within his heart, he harbors boundless darkness. Resentment, pain, anger, hatred... these emotions need to be released. Only by doing so can he maintain his equilibrium, continuing as the leading Martial God overseeing the Three Realms, instead of embarking on a massacre.” This layer of his mask only comes off after the final battle: 【As the number one Martial God of the Three Realms, Jun Wu's appearance and demeanor are always impeccable, pristine. However, now, stripped of all his aura, Xie Lian realizes that even without the three faces, his complexion is too pale. His features are too sharp and cold, with slight darkness under his eyes, casting an indescribably gloomy air, far from the gentle demeanor presented under the halo of light. But now, he seems more alive, albeit in a languid state.】 C. His dream/idealism. This is the most important layer in my opinion because it relates to the theme of the novel. Jun Wu was in effect “forced” to give up on his dream/idealism / the third path after hitting the wall that is reality. I mentioned in another meta that the crown prince of Wuyong’s vassals accused him of changing and forgetting his original intentions, suggesting that in the pursuit of his dreams, he had deviated from his path, gradually breaking his principles and the basic decency of being human, losing his humanity in his quest to become a god. This criticism was what executed (Zhu) his heart (Xin) rather than anything that hurt his body physically, which relates to the meaning of 杀人诛心 (sha ren zhu xin). By abandoning his own values he conformed to the expectations of society, becoming the God-Pleasing Warrior.

Xie Lian is different from Jun Wu in all these ways.

He does not accept Bai Wuxiang’s physical mask and refuses to come to his side

A. After 800s years he still lives as Xie Lian. He tells Yin Yu: "Look at me, I've also managed to live up to now with quite a thick skin." He lives in his own skin and own body and does not hide behind a false identity out of shame. B. He does not construct a grandiose image of holiness. C. He does not give up on his dream/idealism.

Xie Lian is unlike Jun Wu in all the ways that matter, and Chapter 1 / the prologue tells us this.

【People only had time to glimpse a bird-like white shadow soaring against the sky, before the Crown Prince, holding the child, safely landed on the ground. The golden mask fell off, revealing the young and handsome face hidden behind it.】

The mask fell off to reveal his true self. He is not Jun Wu. He will not follow in his footsteps.

Why did the mask fall off? Because he went to save Hua Cheng. In other words, he did not become the second White-Clothed Calamity because:

Intrinsically, he is the type of person who would save the falling child. He is the type of person who would give the common people one last chance by postponing his revenge for three days. He is the type of person who would wait for someone like the bamboo hat guy, the type of person who would search for a flower in a city of ruin, who would hold on to his idealism despite a world that punishes him so.

Extrinsically, people like Hua Cheng and the bamboo hat guy played an important role

The second story, “At Yinian Bridge, Demon and Immortal Meet”:

【Legend has it, to the south of the Yellow River, there exists a bridge named “Yinian Bridge,” haunted for years by a ghost.

This ghost is terrifying: clad in tattered armor, stepping on flames of karma, its body covered in fresh blood and pierced by swords and arrows. With each step, it leaves behind a trail of blood and fire. Every few years, it would suddenly appear at night, wandering at the bridge’s end, blocking passersby to ask three questions:

“What place is this?”

“Who am I?”

“What should be done?”】

The ghost at Yinian bridge is a symbolic representation of the crown prince of Wuyong. The bridge, the armour, the flames, having been pierced by swords — everything lines up perfectly. Xie Lian only had a chance to answer the first question before they start fighting, but I think the other two are also important.

“Who am I?” Again, Jun Wu has lost his sense of self hidden beneath the mask. He does not know what he stands for.

“What should be done?” The dichotomy and cognitive dissonance have driven him crazy. He does not know whether he can still turn back after the choice he’s made.

That said, Xie Lian defeats the ghost at Yinian Bridge. This foreshadows that he will defeat Jun Wu at the end of the novel.

If you read this from a succession lens it also works, the good ol’ conflict about boys either having to kill their fathers or vowing to never become their parents; it’s portrayed over and over again in modern media such as Daenerys Targaryen saying “I am not my father” but going mad in the end of Game of Thrones anyway or Siobhan Roy growing into her mother in Succession. The trope usually ends in tragedy but TGCF is a novel about dreams and idealism and defeating your fate.

Anyhow, this is my two cents — that the first chapter of TGCF sorta-kinda-if-you-squint-hard-enough “spoils” the entire novel.

#tgcf #heaven official's blessing #xie lian #jun wu

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shallowrambles · 8 months

Text

It's fascinating to me how much I've changed my mind about Dean in The Trap. I'm waaaaay more sympathetic to the whole Cas-being-forgiven aspect of it, because yes, Cas apologized initially, but the root of the issue was Cas's painful withdrawal of his partnership and his withholding of critical information. Full stop. He and Dean are NOT equally culpable in this one.

It's not just about Mary and Jack, and yet Cas keeps pivoting to "Dean blaming him for Mary." Which oversimplifies the whole thing in a terrible way. Yes, they're all culpable, and yes they all saw that things were wrong with Jack, but next to Donatello, Cas is THE authority on souls and physically the strongest of TFW. To make matters worse, he all but demanded Dean to parent Jack and take care of Jack's emotions, even though Dean expressed discomfort over his memories of soulless Sam. Dean has repeatedly expressed how he wants Cas to be open and honest with him, especially now that they're co-parenting, and although Cas demanded Dean parent Jack, he then turned around and hid Big Parenting Stuff from him and went off to meet Anael.

Barring Cas's one feeble and poorly-timed, "I tried to fix it on my own because I was afraid of losing this family," he doesn't really spell out his part in the communication failures or apologize very well for withdrawing from Dean, specifically. He sorts of sulls up and say, "I already apologized and I'm not doing it again." Yet, Cas has a continued, longstanding pattern of withdrawal from the partnership. I'm floored that my Cas goggles kept me from seeing it before, and maybe I'm a little embarrassed, too. I mean, honestly, it's amazing that Dean takes him back at all. :/ Once you look past, "Oh no! Dean said mean things!" anyway.

I think by The Trap, Dean has given up trying to get Cas to change or hold him accountable for his lack of communication. Cas sort of gave Dean ultimatums over it, if you squint, and Dean rolled over. And Dean wants to get back together. He needs Cas's support and Cas need his. He looks at everything Cas is and decides that Cas's avoidance and want to protect the family is just woven into the fabric of him, and Dean decides to accept that. It's something he loves about him as much as he resents it. Cas's chivalry is a feature and a bug. Dean loves him for it. It makes his life a Hell sometimes.

Occasionally, I still see people harping on how horrible Dean was for "forgiving" Cas, like Cas doesn't need to be forgiven. And with some distance and clarity, I find that pretty baffling now, but I also remember feeling that way when I wasn't looking at their partnership equally and giving Cas too much leeway on his continued absence from the partnership. I almost...respected Cas more. That thought makes me wince. But his bad decisions I was way more likely to stamp as protective or tactically genius, at least compared to some of Dean's similar decisions. Dean's things I tended to group as "too angry/emotional/irrational." :(

I guess I've come a long way when it comes to holding Sam and Cas accountable for their actions, too. Much of the time, my issues with Dean devolved to unfortunate tone policing or not liking him to express his anger and be angry at his boundaries being breached over and over, even when he was taking his anger out on inanimate objects. I balked just because it made a loud sound that made Sam wince (oh noes, not the wincing).

///

On the other hand, I'm quite impressed that Dean and Cas were finding their way back to each other after the Death of a Child. That's about the hardest thing a marriage can go through, and they were getting back together and trying to heal even before Jack reappeared. Clearly, it's a stress-tested relationship. WAY more stress-tested than your everyday marriages; they've been through multiple apocalypses. On the whole, they often have good communication, even when they disagree, they knew where they stood (like with Donatello). It's just these huge, incredibly unusual horrible earth-shatteringly terrible things that throw them. Chuck's grooming is such a bitch.

#cas + communication issues #spn #spn 15x09 #spn the trap #spn episodes #spn season 15 #dean stuff #cas stuff #dean/cas + trial separation

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nobrashfestivity · 5 months

Text

Personal rambling on Robert Johnson (don't feel you have to read this)

Since last night's song was a Robert Johnson song, I feel like mentioning that I always find it stomach churning how his musical legacy was talked about a large part of the music community.

His name was the subject of two complexly fabricated stories designed to cast him in a musical light that was comfortable to white musicians and writers.

The first one was silliness about him selling his soul to the devil so he could play guitar. It was such an incredibly popular myth (they made movies about it) and when I was a kid it seemed harmless enough until I realized it was to fuel the idea that white culture had about black artists. To whites, black musicians could never be scholarly and learned, doing the difficult task of mastering a musical instrument. Even though so many back musicians were highly educated the trope of the "natural black musician" that didn't have to learn it because they were part of a primitive culture and they were born into music, is a destructive stereotype that lives on today. It's adjacent to the racist "Black people have rhythm" stereotype.

Black people invented so much of American music but it's always been criticized until it is popular enough to be coopted by white artists. I'm not suggesting that white artists refrain from playing and adapting any sort of music, only that there's a lineage from "Jazz is not music" to "Rock and Roll is not music" to "Hip-Hop is not music." I wonder what all these kinds of music have in common!

Fewer people know the more recent Johnson myth that started on the internet, that his recordings were sped up and that's how he sang so high and played difficult things so fast. This had no basis in fact, it was an internet rumor. I felt it was also based on an ingrained racist idea about blues. White musicians had decided it sounded more "Authentic slower despite the fact that Johnson was only 25 years old when he recorded his first records and had ever right to sound like the young man he was. I have been over the "evidence" of this speed changing conspiracy and it was no basis in fact for about 10 reasons I wont bore you with. I just feel it's a lingering and unfortunate cultural picture of the blues that it's a bunch of uneducated black people getting drunk and singing that their baby left them. It can be extremely sophisticated and lyrical music.

I am not accusing everyone of being a racist. Many white musicians genuinely adored, shared the music of and credited Johnson for his genius. Keith Richards famously said when he first heard a record of Johnson paying solo he asked "Who's the guy playing with him?"

The thing I find unfortunate is that endless parade of Blues Hammer bands (Terry Zwigoff KNEW) that have systematically dismantled the elegance of the early rural music. The culture makes it hard for anyone to listen to Johnson and not think of some white hat mustached bar band who thinks they are covering Eric Clapton. And it's just a shame that, in a sense, he will remain this cliche of the guy selling his soul to the devil (so he could play hot licks!) instead of the graceful writer and musician he really was.

And to the poets and writers out there who analyze song lyrics, for me Johnson has some tremendously wry and dense allusions.

I recall reading Stephen Calt (I think) saying that in Johnson's song "Dead Shrimp Blues" "Shrimp" was a 19th century French slang term for a sex worker, long outmoded when he used it. I find these coded aspects to the music really interesting.

In the song last night "Come on in my kitchen" which is all at once mournful and salacious, there's one of Johnson's references to Hoodoo culture:

"Oh, she's gone, I know she won't come back I've taken the last nickel out of her nation sack You better come on in my kitchen It's goin' to be rainin' outdoors"

ethnographer and folklorist Tony Kail writes:

During the 1930’s Anglican minister Harry Middleton Hyatt traveled the United States performing interviews with numerous devotees of Hoodoo and African-American spiritualism. During his stay in Memphis Tennessee Hyatt encountered an informant who shared about a curious artifact known as the ‘nations sack’. Other local terms used for the sack included ‘nations bag’ and probably the most used term the ‘nation sack’.

Hyatt’s informant shared that the sack was worn by females typically around their waist. The sack contained money and objects considered to be ‘lucky’. One practitioner shared with Hyatt that some nation sack owners would place parts of a chicken egg inside the bag while others spoke of adding objects such as roots, snuffboxes and silver dimes. One informant shared that some women utilize materials such as a dollar bill covered in their mate’s urine inside of their nation sacks. Some were used in conjunction with a string that could be tied to ‘tie’ up a man’s ‘nature’ or sexual prowess. The magical principal that appeared frequently was that the ingredients in the nation sack could keep a man faithful and a woman protected. Hyatt’s informant he nicknames the ‘Nation Sack Woman’ advises the minister that the bag is off limits to men and should never be touched by a man.

But a favorite Johnson lyric for me is positively psychedelic for 1937 and is from "Love in vain" which perhaps is popularly known from being covered by The Rolling Stones .

"When the train, it left the station, with two lights on behind the blue light was my blues, and the red light was my mind."

#personal #robert johnson #Okay I didn't intend to go on like that #this is what happened when i can't sleep

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gardenschedule · 28 days

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Perceptions of Paul as calculating & John's paranoia

“McCartney’s mistake, which he now admits, was to seem invulnerable. […] And yet, he says, the contrast between himself and Lennon, so assiduously cultivated by journalists, was a fabrication. “I wasn’t brilliant at school. I was trouble, just like John. I got caned practically every day, and the only exam I ever passed was Spanish. John and I weren’t black and white, although people took John, for all his aggression, to be the good guy, because he showed his warts. I’ve only just realized, after all this time, that people like to see warts. It makes them sympathetic. I’d always though that, in order to be liked, you had to be unwarty.””

Living with The Beatles’ legacy, the smears that Lennon left behind… and the battle to win my babies back, The Times Newspaper, Monday January 4, 1982.

Paul was the easiest to talk to. He had such energy and such keenness and, unlike John, enjoyed being liked, at least most of the time. I don't see this as a criticism; John himself could be very cruel about Paul's puppy dog eagerness to please. The irony was, and still is, that John's awfulness to people, his rudeness and cruelty, made people like him more, whereas Paul's genuine niceness made many people suspicious, accusing him of being calculating. Paul does look ahead, seeing what might happen, working out the effect of certain actions, but he often ends up tying himself in knots, not necessarily getting what he thought he wanted. I think there is some insecurity in Paul's nature, which makes him try so hard, work so hard. It also means he can be easily hurt by criticism, which was something that just washed over John.

Hunter Davies, Western Mail: The Beatles. (April 9th, 2004)

Even Paul’s immaculate manners could not thaw her. ‘Oh, yes, he was well-mannered–too well-mannered. He was what we call in Liverpool “talking posh” and I thought he was taking the mickey out of me. I thought “He’s a snake-charmer all right,” John’s little friend, Mr Charming. I wasn’t falling for it. After he’d gone, I said to John, “What are you doing with him? He’s younger than you… and he’s from Speke!”’ After that, when Paul appeared, she would always tell John sarcastically that his ‘little friend’ was here. ‘I used to tease John by saying “chalk and cheese”, meaning how different they were,’ she remembered, ‘and John would start hurling himself around the room like a wild dervish shouting “Chalkandcheese! Chalkandcheese!” with this stupid grin on his face.’

Philip Norman, Paul McCartney: The Life. (2016)

“He always suspected me. He accused me of scheming to buy over Northern Songs without telling him. I was thinking of something to invest in, and Peter Brown said what about Northern Songs, invest in yourself, so I bought a few shares, about 1,000 I think. John went mad, suspecting some plot. Then he bought some himself. He was always thinking I was cunning and devious. That’s my reputation, someone who’s charming, but a clever lad. “It happened the other day at Ringo’s wedding. I was saying to Cilia [Black] that I liked Bobby [her husband]. That’s all I said. Bobby’s a nice bloke. Ah, but what do you REALLY think Paul? You don’t mean that, do you, you’re getting at something? I was being absolutely straight. But she couldn’t believe it. No one ever does. They think I’m calculating all the time.

Paul and Hunter Davies, 1981

In the wake of his death you didn’t tour for most of the ‘80s. People suggested that you were scared to go on the road. Was that true? No. People speculate about anything. They always credit me with motives I haven’t even dreamed of. It’s interesting, the way they sort of perceive my life and analyse it for me. In that case, I never thought about touring much. People used to say, “Oh, it’s 10 years since you’ve toured.” I’d go, “Is it? Y’know, I’m not counting.” That’s all that was, really. I don’t know why. Maybe I didn’t fancy it.

The Q Interview, 2007

Astrid in Germany was always a bit suspicious of Paul at first, though his relationship with Stu was also bound up in this. 'It used to frighten me that someone could be so nice all the time. Which is silly. It's ridiculous to feel at home with nasty people, just because you feel that at least you know where you are with them. It's silly to be wary of nice people.'

The Beatles (Updated Edition) (Hunter Davies)

Paul is the easiest to get to know for an outsider, but in the end he is the hardest to get to know. There is a feeling that he is holding things back, that he is one jump ahead, aware of the impression he is giving. He is self-conscious, which the others are not. John doesn't care, either way, what people think. Ringo is too adult to think about such things, and George in many ways isn't conscious. He is above it all.

The Beatles (Updated Edition) (Hunter Davies)

Paul today is still the public Beatle, giving interviews at fairly regular intervals, being open and honest about himself and his past, his worries and his pleasures. Naturally, as ever, there are people who suspect his motives, putting him down for being too charming. Paul may be a bit of an actor, acting the part of Paul McCartney, the charming superstar, still loved by every mum, which can make him sound rather prissy at times, but I believe he does tell the truth about himself.

The Beatles (Updated Edition) (Hunter Davies)

“My problem is to me, I come over as this very together guy, always got his finger on top of everything: the man with no problems. School – a doddle, got all the exams. This is the sort of image of me. Actually, I had murder getting through exams, like I was saying about being on tour during my GCEs. I was like the kid who was getting the cane. Just like John was, but he [Phillip Norman] makes me the very shrewd, always-going-to-succeed guy, and John is the kind of cute, working-class hero. In actual fact though, John was just as shrewd and ambitious as I was. What does me in is he adds to this image I’ve got; I resent that, because I know I’m not that, and I know I’ve never been that.

Paul McCartney’s thoughts from 1983 on Phillip Norman’s ‘Shout!’

The funny thing is, when Apple [started], everything was laid out on the table, it’s like a Monopoly game. We saw who had what. I suddenly had more Northern Song shares than anybody, and it was like, oops, sorry. John was like, “You bastard, you’ve been buying behind my back.” John saw everything like a Harold Robbins movie, you know, which it was. He’s not incorrect. I couldn’t get over the fact that we were really involved in all this. I think to this day, he’ll not understand. I don’t think he would accept right now, my naïveté in it. I think he still suspects me of trying to take over Apple. He still suspects that when I offered the Eastmans as [managers] instead of Allen Klein, he naturally assumed that I would be taken care of better than the others, and that the Eastmans could never be moral enough to be equal in their judgment and do the Beatles’ thing rather than Paul’s thing. I think they still suspect to this day.

The point I was trying to illustrate is that it wasn’t so much John being a bastard as it was his being suspicious towards me, always being suspicious towards me. There was Northern Song shares. And I swear on any holy book you want, I know he won’t believe it, but I know for sure that I didn’t buy them with the view to— If I was really trying to do it, I could have bought an awful lot more. So it does hurt a little bit that there’s someone who still thinks, like, I’m out to get them, or that I always was. That’s one of the nice things about it— It’s a pity [I never said to John, “Fuck off, I’m not trying to do it”—and never was]. But he knows I was kind of— We were behind the scenes, and we did a few little [things] that we had to do, and our ambitions, and it was never a kind of terrifying skeletons in the closet. It was always just normal—but, uh, they …

All You Need Is Love – Peter Brown & Steven Gaines

SG: Were the other Beatles anti-Linda? PMcC: Uh, yeah. I should think so. Like we were anti-Yoko. But you know John and Yoko, you can see it now, the way to get their friendship is to do everything the way they require it. To do anything else is how to not get their friendship. This is still how it is with John and Yoko. I know that if I absolutely lie down on the ground and just do everything like they say and laugh at all their jokes and don’t expect my jokes to ever get laughed at, and don’t expect any of my opinions ever to carry any weight whatsoever, if I’m willing to do all that, then we can be friends. But if I have an opinion that differs from theirs, then I’m a sort of an enemy. And naturally, paint myself a villain with a big mustache on, because to the ends of the earth, that’s how they both see me. They’re very suspicious people [John and Yoko], and one of the things that hurt me out of the whole affair, was that we’d come all that way together, and out of either a fault in my character, or out of lack of understanding in their character, I’d still never managed to impress upon them that I wasn’t trying to screw them. I don’t think that I have to this day.

All You Need Is Love – Peter Brown & Steven Gaines

I was never out to screw him, never. He could be a maneuvering swine, which no one ever realized. Now since the death he’s became Martin Luther Lennon. But that really wasn’t him either. He wasn’t some sort of holy saint. He was still really a debunker. “For ten years together he took my songs apart. He was paranoiac about my songs. We have great screaming sessions about them.

Paul and Hunter Davies, 1981

SALEWICZ: Oh, he was presumably very paranoid. PAUL: I think so. I mean, he warned me off Yoko once. You know, “Look, this is my chick!” ’Cause he knew my reputation. I mean, we knew each other rather well. And um, I felt… I just said, “Yeah, no problem.” But I did sort of feel he ought to have known I wouldn’t, but. You know, he was going through “I’m just a jealous guy”. He was a paranoid guy. And he was into drugs. Heavy.

September, 1986 (MPL Communications, London)

Miles says, “I think Jane was always a bit irritated by John. Because he was so acerbic and difficult to get on with. And paranoid. He didn’t make life easy. I suppose it’s a sort of rapier wit, but it was usually just plain ordinary rudeness. There was nothing special about it.”

Paul McCartney profile for FAME Magazine (March 1990)

“They [Lennon & McCartney] saw each other again in 1977. The Lennons and McCartneys ate dinner together at Le Cirque, Paul’s favourite French restaurant in New York. John regretted going; it was a loathsome night. Paul and Linda blathered on and on about how perfect their lives were, how they had everything they’d ever wanted, and how they were as happy as they’d ever been. Something very paranoid suddenly occurred to John. Maybe Lorraine Boyle was spying on him for the McCartneys! He woke up the next morning still feeling disturbed; he consulted the Oracle. Swan assured him that Paul and Linda were frustrated and unsatisfied. Their marriage was in trouble, he said, predicting it would break up within the year. Lately Swan’s visions had been astonishingly accurate. Relieved, John began composing a song—a little ditty, really, that would never be released—in praise of the Oracle’s powers. But he still couldn’t understand why Paul and Linda had been together for as long as they had. There appeared to be a psychic connection between John and Paul. Every time McCartney was in town, John would hear Paul’s music in his head.”

Robert Rosen, Nowhere Man: The Final Days of John Lennon, (2000)

JOHN: […..] And he’s (Jagger) goin’ on about “he never calls. Do you think he ever calls? He never calls me. And he keeps changing his phone number all the time… And he’s hiding behind the kid.” I was hurt by it! You know… The fact that… A, I never call anybody. It’s not pride, it’s just that I never, ever have. REPORTER: Why? JOHN: I never call the other Beatles, I never call anybody. They always call me. REPORTER: Why? JOHN: Cos I’m self-involved! I’m paranoid, too. I don’t like phones… There’s nobody on this earth ever got a call from me that isn’t related, probably. Or a very old friend…

Sept 1980 – John

“Yoko was an extremist and was even more intense than John taking any idea or comment of his to the limit. If, for example, he complained about any of his fellow Beatles she would hint that that Beatle had always been an enemy implying that John should never deal with that person again. Her extreme positions fascinated John and help him take his mind off himself but when she became self-involved and paranoid herself -her paranoia usually dealt with her career, her fame and the fact that even though she had always been famous everyone conspired to keep her from getting even more famous- he had no place to turn. His insecurity about his solo career, his childhood, his relationships with the other Beatles, the way the public perceived Yoko overwhelmed him and he became more and more involved with drugs.”

May Pang, Loving John (1984)

John was lucky. He got all his hurt out. I’m a different sort of a personality. There’s still a lot inside me that’s trying to work it out. And that’s why it’s good to see that wedding-funeral bit, because I started to think, ‘Wait a minute, this is someone who’s going over the top. This is paranoia manifesting itself.’ And so my feeling is just like it was at the time, which is like, He’s my buddy, I don’t really want to do anything to hurt him, or his memory, or anything. I don’t want to hurt Yoko. But, at the same time, it doesn’t mean that I understand what went down.

Paul McCartney: An Innocent Man? (October, 1986)

Some three year later, during the making of Abbey Road, Lennon installed a twin bed in the studio so that Yoko, recuperating from a car crash, could survey proceedings and pass comment though a mike he had suspended over her. The other Beatles positioned themselves around the room as best they could. Yoko would later tell Paul that if, for any reason, he’d seemed to be standing too close to her, all hell would break loose when John got her home. Lennon, she said, was ‘very paranoid’ like that.

McCartney by Chris Sandford

But we were actually quite supportive. Not supportive enough, you know; it would have been nice to have been really supportive because then we could look back and say, “Weren’t we really terrific?” But looking back on it, I think we were okay. We were never really that mean to them. But I think a lot of the time John suspected meanness where it wasn’t really there.

Paul McCartney, interview w/ Chris Salewicz for Musician: Tug of war – Paul McCartney wants to lay his demons to rest. (October, 1986)

#the beatles #paul mccartney #john lennon #mclennon #i wonder how much of their issues were due to john suspecting paul of things that just weren't true #then again maybe paul is secretly an evil mastermind #can't put it past him

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stromuprisahat · 1 month

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Second Army disorganization

Siege and Storm- Chapter 14

One of the most frustrating and famously nonsensical passages of Grisha trilogy, easily explained through doylist approach- the author's inability to write strategy or politics and demands of the genre, requiring a weak, unfit heroine to defeat immensely powerful opponent way out of her league:

Alina: Oh no, they dare to oppose me again! :(

Isn't that why would you want to establish a council in the first place? So you get constructive criticism and suggestions to do things better?!

My objections to the notion Alina came up with representation of Grisha can't be more obvious:

Army is a structured organization. There are ranks and councils by default. No amount of ignorant teens will persuade me calling it "Second" makes it otherwise.

Any big organization has a structure. Even if Second Army were only about education, there would be councils and posts on different levels. Hell, school system works that way.

Alina: I'm gonna have the useless ones represented, because we're not doing things like the Darkling, but that doesn't mean I'll respect them myself or abandon my prejudices. Fucking nerds. Weidos...

Another YA nonsense- you cannot put people into categories based on their physical predispositions, and expect the mental ones to fit accordingly. You can have a huge, muscled guy, skilled in delicate handiwork. You can have a tiny wisp of a girl beating the living shit out of you (popular trope by itself).

Now why should sensitivity to metals get you a spot in labs, if you're a strategic genius? Or incredibly skilled, witty rhetorician? Isn't it more likely you'd be required to complete basic training to stay healthy and prevent accidentally endangering others, while being assigned to whatever you're most useful at?

And what about those weak or less intelligent ones? Are they bringing coffee and arranging entertainment?!

It also fits this fan interpretation, that Materialki are often neuro-divegent, so they are tend to be kept away from battle for their own sake.

Alina wasn't involved in practical running of Second Army before. Just because she doesn't know about something, it's not a totally fresh idea.

I'd be afraid of a girl, who almost murdered a bunch of people for asking questions, too.

At this point, I'm gonna run with the idea that all the older Grisha are torn between face-palming and silently laughing their assess off (so Alina doesn't overhear and her clique doesn't resort to violence).

“But what do they do in there?” I asked, not entirely sure I wanted to hear the answer. “Only the Corporalki know. But there are rumors that they’ve been working with the Fabrikators on new … experiments.”

Shadow and Bone- Chapter 8

... and that says nothing about the field, or the little groups in noble houses. People tend to stick together with their own, when in strange enviroment. I'm sure such bonds dissolve immediately after their return "home".

I've also delved a little into the sitting order here.

A few lines earlier, Alina noted Materialki didn't show up to complain. Who is so horrified then?! Not them, for sure.

Ironically, this fits into Fabricator-brain theory linked above AND the most logical explanation- Materialki have basic self-defense training, but only those, who are able to, continue. Alina isn't particularly friendly with any of them, so how would she know no one had EVER bothered to teach them? Alright, there are none in her class, but as far as we know, it consists of a Squaller, an Inferni and a Heartrender. Not the most saying sample.

Having a third of all Grisha helpless doesn't fit into the picture of Aleksander's leadership:

“That’s what Botkin always says. ‘Not showy, just to make pain,’” I said, imitating the mercenary’s heavy accent. “Smart guy.” “The Darkling doesn’t think Grisha should rely on their powers for defense.”

Shadow and Bone- Chapter 17

You don't have to become another Bruce Lee, you only need a chance, when they drag you out of bed in the middle of the night.

What tradition?

This is rather well-written group of angry, disorganized people. It might start with a reasonable goal, but soon everyone talks about something else than others, and the message gets lost in the noise.

Tradition doesn't equal "the way things are done". Neither of them is the same as "the need for structure and people knowing their places". The third one is a legitimate concern, although one could argue it's exactly what Alina's attempting.

This whole scene very much reads like:

The author is desperate to prove the Heroine isn't quite useless- she has good ideas! Look! *whacks a hundreds of years old stategist and survivor par excellence with stupid stick*

#Grishaverse #S&S Chapter 14 #The Darkling #Alina Starkov #Second Army #Materialki #grishanalyticritical #Second pseudoArmy #S&B Chapter 8 #S&B Chapter 17 #meme #V #Siege and Storm #Grisha trilogy #books #quotes #Leigh Bardugo #anti Leigh Bardugo

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xbruised-peachx · 5 months

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Yooo first time ever requesting anything on this platform but like. Gromsko? Fender? As dads 😳? Gnawing at the bars of my enclosure for more content with my favs :3

OHHHH SWEET ANON I've thought about this a lot, in particular with Grom, might make a render someday... eventually... when i have time... dont hold me to this.

Tags: fem!reader, pregnancy, critical levels of cuteness and sweetness, author is not responsible for baby fever caused by this fic, one-shot, not betaread

Gromdad/Dad!Gromsko ⛈🇵🇱

He's always been a family man, not even just for wanting kids. Learning to care from his grandmother, he knows there's so much more that goes into having a truly good family life beyond just having a big family. He knows the value of true familial love that some struggle with because all they want is some big lineage. He's seen swaths of men who just want to pass on their genes but then not be there for the family they helped create. He never wants to be like that. He wants to be like his grandmother, like the other men in his family; true, respectful men that bring honor to them through compassion, care, and true familial love. Someone that will be passed down through generations due to the genuine heart he has.

Announcing to him that you're pregnant would genuinely brighten up his whole day. He would sit silent for moments as a smile crept up his face, in complete disbelief as his mind raced. He would only be able to choke out a soft "W-what?", unable to hide his smile as it grew and he laughed out of sheer awe. Head in his hands as his mind scrambled more for what to say, struggling even to gather a thought in his native language, let alone translate it. You rubbed your hand on his back, worried about him but he'd quickly pull you in for a tight embrace, taking a deep inhale in as he rested his head into the crook of your neck. Pulling back, you saw as he had a soft smile, his eyes gleaming a bit more as he showed a soft expression, wet with tears that threatened to come out. "I... I think I'm the happiest man in the world right now."

Having him around during pregnancy was a godsend. Sure, his medical training was for war and not for prenatal care, but he would be trying his damnedest and reading professional books on care. He wouldn't dare you to lift a finger the entire time, making meals for you like he usually would, and cleaning the house. Whatever you are craving, he'll figure out a way to mix it up even if it's... questionable in flavor to him. He also adores shopping with you, picking out a theme for an animal for the nursery, going with lions with the warm orange and oak colors making it very inviting as he set up the furniture. He especially adored the small scale clothes and shoes, and you couldn't even resist the cute allure of the matching red and white tracksuit when it was in a miniature scale. The nights though were where the true comfort lied, just on the couch, watching a movie or show while wrapped in blankets, his arms wrapped around your waist as he softly rubbed where the bump was forming. You couldn't see his face due to the position but he would be looking in absolute adoration. He knew pregnancy was hard on you, but that you were more than willing to put up with it for him? He will do anything to make it easier for you.

Above all, he is an amazing father once the baby is born. He admits, he cried when he first saw them and held them in his arms. He wasn't ever the man to cry, but the pure joy made him break. No doubt too with him being a big guy himself, his kid would come out naturally big and stay that way through infancy (I think of the one tiktok where he says "you look like a busted can of biscuits"... feel like that happened to Sobi at least once). One of his favorite things to do is while the baby is on their back, grabbing his helmet and going over them, letting the little bits of fabric dangle down as he leans down, shaking his head lightly as he watches the baby's reaction, eyes going wide then a huge smile growing as the baby starts giggling. His own smile goes wide as he hears every time the baby lets out a screaming laugh as he shakes his head. Watching it all warms you heart. It warms your heart even more as nighttime hits and you hear a low voice coming from the nursery, a tune that is out of key but warm and inviting in his own way. To his side a "Goodnight Moon" book but his singing... He expressed how he wanted to have the baby know both English and Polish. And there he was, softly singing in a rocking chair, no doubt his baritone singing making a soothing rumble as the baby fell asleep against his chest; Oj, lulaj, lulaj... Maleńki sokole... Oj, jak ty mnie urośniesz... Pójdziesz ze mną w pole...

Dad!Fender 🤘🇭🇺

He's always had the looming loss of his father over him, that legacy being his driving force as a soldier. But when he got with you? A new type of dread loomed over him; would he meet the same fate as his father? The thought terrified him, leaving you alone to raise a child, he didn't want to leave another child with the same fate as him. He wanted to be different.

When you told him about the results of the test, you were worried. You knew he wouldn't end things with you but that this still was completely unplanned. And that made him think of his own parents again. He remained silent, thinking in his head of what his own father must have thought when he was told... but as your hand slid over his and he met your eyes, seeing that worry and doubt, it melted him a bit. He thought of how his father must have thought at the time, with his mission in Budapest, the situation in Budapest at the time... thought story had its parallels, he realized it was different. He wasn't a CIA operative in a different country, he was a strong soldier in his own way, now working for a PMC that he could break his contract with for the time being. He had a strong relation with Kortac and they would absolutely understand his absence. He realized he can make it different, he will break the fate. Taking your hand and meeting your eyes, he looked determined but caring still, a smile on his face as he spoke, "We got this... We'll be strong together and get through this, darling... I'll be here for you."

With his break from Kortac he was more than willing to care for you while you were pregnant. His love of working out meant he had plenty of vitamins to help out both you and the baby, but also he was more than willing to grab new ones that were specialized for prenatal. Anytime you passed out on the couch, taking a nap just from the sheer work of your body growing your child. He'd smile and lift you with ease to the bed, often just taking a moment to lay with you while you rested. It warmed his heart being there for you. He had no mission professionally, just the goal of being there for you and supporting you. He felt less dread as time went on and he saw you happily walking around the home, smiling as you leaned on the doorway to the new nursery as he put together the complicated furniture.

When the baby was born, he couldn't ever describe the elation he felt. His own father dying before he was born, he finally felt at ease as he proved he could break the cycle, that it wasn't his destiny to have the same fate as his father, even if there was parallels. He'd carry everything for you out of the hospital, including the baby themself. And he always wanted to be there for you and the baby after, he was often the one getting up in the middle of the night when they cried, not minding at all as he savored every moment he got with them. He loved spending tummy time with you and them, encouraging the lil' thing as they grew and got stronger. Every moment was so precious to him, and he was glad to be there. Though his dad seemed before to be an omen, now he couldn't help but think of him positively, hoping wherever he was that he could see the proud man he left on this world, now a proud father.

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sing-me-under · 2 months

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now that they’re all laid out and colored, it feels very power rangers for some reason.

Anyway, this is me combining my favorite elements of Tim’s costumes. It’s basically an adult Tim Drake AU (because DC refuses to give us a canon adult Tim— LET HIM AGE PLEASE) as a follow up to this post.

Here’s some notes:

Tim is lithe and does not build up defined muscle easily. I should do more anatomy studies at some point, but Tim’s strong suit isn’t brute strength anyway.

I’ve taken to calling this the Pilcrow AU, but honestly, I’m just so obsessed with Tim’s self-image in the Unternet essentially just being a caped Nightwing that this could also be Flamebird design.

The single stripe on the side is supposed to mimic the Pilcrow symbol (¶) but I didn’t want to make it too obvious because then it’d feel too similar to Anarky’s A.

WINGS. GIVE HIM BACK HIS WINGS.

The wings have magnets in them that can connect to the arm bracers for more precise control. They’re more for gliding than sustained flight, but I could picture a jetpack or something being hidden in there.

Beak mask.

I miss Tim’s spiked skater boy hair, but the middle part is fine. I like to think the y-axis of his hair has a direct correlation with his emotional stability. His hair spiking up is when he’s emotionally not-terrible and his hair is long when he’s extremely emotionally unstable (ex. Red Robin 2009). I cannot stand his undercut in the current mainline comics. He looks like a fuckboy.

He’s got a lot of invisible pockets and hidden compartments. Some of them are just blended into the fabric.

The black sides against the black underwing feathers helps prevent enemies from striking precise blows. It’s an optical illusion.

20-something year old adult Tim is 5’7”. Cass is like 5’3” and Steph is 5’10”. I will not take any criticism. When Tim was a teenager, before his final growth spurt, he and Cass could swap clothes. Meanwhile, Steph has always been taller than him and will continue to hold it over his head.

#personal #dreamlessart #dc #tim drake #that’s all folks #I just needed to get this idea out of my system

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chaos0pikachu · 3 months

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Filmmaking? In My BL? - The Horror Influences of Dead Friend Forever

Okay off the bat I'ma say that this isn't me definitively saying these specific films or tv series are what inspired 100% DFF. I simply do not know what stuff the screenwriters were pulling from influence wise when writing the script, nor what the director was pulling from when directing the series, with 100% flawless certainty.

Rather, this is a chance to talk more about horror, from films, comics, visuals, and sub-genres and how these various mediums are what I see in the fabric of DFF's horror makeup. Also, general point, this post will be discussing minor spoilers of: Scream, DFF, and Girl from Nowhere. So like, be aware~~

This post is partially inspired by an ask from @italianpersonwithashippersheart in which the anon had mentioned Scream.

I couldn't really respond to this in detail before cause I hadn't watched the series, but I have now and I can say that the show is very thoroughly nothing at all like Scream. I'm not confident in much - other than my inability to reach the top shelf at the market - but I am confident in saying that lol

But this got me thinking, what type of horror IS DFF? I've seen a lot of folks say it's a slasher, and I both agree and disagree.

Horror as a genre is vast with sub-genres, it's probably one of the most universal and popular genres globally, and every culture has their own horror legends, cult classics, mainstays and shlock.

So that's what I'm going to talk about in this post, the slasher genre, why I don't think DFF 100% can be boxed into that sub-genre, what type of horror I think DFF is, and the influences I see in DFF's filmmaking and thematics.

So if we start anywhere, we gotta start with Scream (1996) since that's a comparison I've seen being made a lot.

The main reason I disagree in the comparisons to Scream is that Scream is considered a work of satire first and foremost. Through the power of capitalism and franchising, it's also consider a "whodunit" series.

“Scream” is the first movie of its kind to execute a satire genre within a horror movie, which is one of the most iconic and memorable elements of the film. The original movie makes many references to other well-known horror films and mocks them, while simultaneously leading the same plot points. [...] Although the following films in the “Scream” franchise do not follow as much of the same mockery of horror films, they are still considered to be satirical because of their use of mockery toward the movie franchise. “Scream 2” mocks film sequels and “Scream 3” mocks film trilogies." (source)

[sidenote one of my favorite examples of satirical meta horror is Wes Craven's New Nightmare]

DFF isn't satirizing anything in horror, it's almost entirely self-serious. Sure there's a couple of moments of hilarity - dick biting, and scooter snatchin' - but overall the show plays things pretty straight (gay sex notwithstanding). I've seen some folks claim it's subverting horror tropes, but I don't see that either (would be interested in discussing that tho cause I'm curious).

I get why people make this comparison though, Scream is a 27 yr old franchise, and probably the most relevant slasher franchise currently. The new Halloween movies were...cute but aside from the first Halloween (2018) the rest of the reboot franchise had diminishing returns; each film made less than the previous, and received lower critical scores.

However, Scream has actually grown as a franchise in the States in terms of box office draw. That said, Scream is actually not a huge earner overseas, Scream IV (2023) earned more than 60% of it's box office revenue domestically. In Thailand, according to reports, it only earned about 300,000 (compared to other international territories like Brazil where it earned around 4,600,000).

So I don't think DFF is pulling much from Scream in terms of setting, tone, or story. I do think the show most resembles Scream in directorial style, specifically in the imagery of the Killer's design and in the slow-crawl mask reveals that have happened so far.

youtube

[very obviously spoilers for all the scream films watch at your own risk etc, gif by @my-rose-tinted-glasses]

So what is a slasher film or story?

"A slasher movie is a horror sub-genre that involves the murdering of a number of people by a psychopathic killer, typically via a knife or bladed tool (such as a scythe).

In general, the horror genre is known for its fear, violence and terror. It will typically feature a menacing villain, whether it be a monster or a supernatural evil spirit, for example." (source)

Other common but not inherent secondary characteristics of a slasher story will include: young adults as central characters, sex (typically as a means of punishment "sex gets you killed"), the killer is motivated by revenge, lots of gore and/or violent kills and a "final girl".

I point out common but not inherent because the main tenants of a slasher story is the overall body count, female protagonist and a mysterious (typically masked) killer.

For example, in Scream (96) Ghostface is motivated by revenge, however in Halloween (1978), Texas Chainsaw (1974), Prom Night (2008), You're Next (2011) and Wrong Turn (2003) the killers are not.

If there is a western horror franchise or film that the setting of DFF more closely aligns with, it's Friday the 13th (2009). Which was a sequel/reboot to the original Friday the 13th (1980) starring Tumblr's own Jared Padalecki as one of the leads (that was an interesting year as Jensen Ackles also starred in a remake of a classic 80s horror film My Blood Valentine).

In Friday (09) the bulk of the story takes place at a mansion styled cabin in the woods near Crystal Lake owned by one of the characters rich parents. Jason eventually hunts down each of the characters, killing them in various ways, and they even find his home with a shrine to his mother there. There's also like, a lot of sex and nudity in Friday (09) none of it fun or sexy as it's pretty, unfortunately, misogynistic.

Being in an isolated area, like the cabin in the woods in DFF and Friday (09) is also not a requirement within the slasher sub-genre.

Many slasher films, especially American classics during the genres 80s peak, actually take place more often in suburbia rather than in isolated locations like the woods. Which reflected real world anxieties from predominately white communities and a turn towards more conservative politics of that era in America.

"Those same well-kept neighborhoods and quiet backyards of my childhood were also the battlegrounds of the ’80s horror movie, a radical pivot in the genre’s history. The decade’s opening years were bracketed by the kidnappings of Etan Patz (which inspired the Missing Kids on a Milk Carton program) and Adam Walsh (which inspired his father John Walsh to later create the TV show "America’s Most Wanted"). Combined with the conservative turn in crime and punishment law brought on by the Reagan administration, horror appeared to turn from the supernatural curses of the decade before ("The Exorcist," "The Omen") to a homegrown product of our own sins. Michael Myers, Jason Voorhees and Freddy Krueger are psychotic loons but also human beings who come not from afar but from down the street. The possibility that one of them could be lurking just beyond the sliding back door of a sleepover birthday seems too darkly delicious to pass up, a fictional killer standing in for a warning your parents and society gave you about “stranger danger,” real-life evil lurking in the dark." (source)

Isolated settings, while can be a setting in slashers are more often found in psychological horror films: The Strangers (2008), When A Stranger Calls (1979, 2006), Hush (2016). Also the Evil Dead (1981, 1987, 2013).

[The latter has it's own interesting history of wanting to be psychological body horror, to horror comedy cult classic, back to psychological body horror. Honestly if any franchise has influenced the "horror set in a cabin in the woods" it's Evil Dead, which is paid major homage to in Cabin in the Woods (2011).]

Sooooo is DFF a slasher?

Hm, for me, yes and no. Slashers require a high body count and pretty gory deaths. So far we've only had 3 deaths, only two of which were even committed by the killer themselves and not even by their own hand (ie directly).

For me, the slasher elements of DFF exist in the directorial styling of the film, meant invoke a classic slasher film but that's not where the true horror of the story exists.

I'm a big slasher fan, so I'm not trying to discount the sub-genre at all, lots of slasher films are good, and when done well, they're truly scary. But they also tend to be straight forward in design, the fear comes from the feature of being stalked by an unseeable and unstoppable force infiltrating what should be a safe space (your home, your school, your neighborhood, your camp grounds etc).

Which is why slasher films are also the most common horror sub-genre to be parodied (Scary Movie franchise) or made into horror comedies like Freaky (2020), The Final Girls (2015), Happy Death Day (2017), and Totally Killer (2023).

[sidenote slashers have this in common with the zombie sub-genre of horror as zombie films in America have also tended in recent years to be horror comedies or horror action like: Little Monsters (2019), Cooties (2014), Zombieland (2009), Pride Prejudice and Zombies (2016)]

I'd argue that DFF is much more in line with psychological horror than slasher horror. Because it is anything but straightforward and also has a strong emphasis on relationships and isolation as does most psychological horror.

Films like: It Comes At Night (2017), Us (2019), Perfect Blue (1997), A Tale of Two Sisters (2004), The Forgotten (2017), Dark Water (2002) all have similar elements in terms of tone as DFF.

The isolated setting, the allure of the mundane normality being a veneer for the violence lurking beneath the surface, the existence of the paranormal, the use of drugs to increase fear, the unsettling paranoia, and slow burn crawl towards all the characters being unteathered from themselves, the growing distrust between them and their loved ones, the plot twists and turns, the emphasis on human relationships and the horror that comes from those.

The backstory with Non is what pushed the show past slasher horror to psychological horror for me. Because Non's "downfall" as it were, feels more akin to the slow burn psych horror rooted in a lot of Japanese, Thai films/tv shows, and modern A24 style horror films.

The horror of Midsommar (2019) doesn't come from jump scares, or violence, but in slowly watching the protagonist grow more and more unteathered, mistreated, gaslit, more and more with each passing moment, slowly inducted into a horrific cult and being able to do nothing to stop her descent.

A big influence I saw in DFF was Girl from Nowhere (2018); the school setting, the crimes committed by a group of students against a singular student, class exploration, structural violence, the exploration of retribution are all topics explored in the first season of Girl from Nowhere.

Even the series trailer for GFN and the pre-release trailer for DFF are similar in production design and tone:

youtube

Titled "BFF" the two-part finale from season 01, is about a high school reunion, where a group of now established adults come back together for a party (their reunion) only to be confronted by their past via Nanno (the shows protagonist for lack of a better term).

Through Nanno we learn about the chars past misdeeds in high school - bullying, physical assault, stealing, the works - and their current crimes as adults. As more and more layers of the truth, lies, and betrayal are revealed, the friend group begins to crack, fracture and turn against each other, growing more and more paranoid and angry.

Nanno tells the group that they've also all been drugged with poison and there's only one vial of antidote left, the "friends" all horrifically murder each other in order to get the antidote. In the end, no one survives. EXCEPT, it was all a mass hallucinate and the group wakes up, remembering everything, and quietly leave one-by-one. No longer friends, no longer not-friends, everyone forever changed by the experience.

It's an unsettling ending that leaves things open ended. This group of friends were responsible for the bullying and death of Nanno (she's fine she's like immortal or something I'm pretty sure GFN was partially influenced by Tomie by Junji Ito) and they simply refused to acknowledge what they did to her, nor talk about her, eventually forgetting she existed until forced too through a traumatic retribution by Nanno herself.

[Nanno from Girl from Nowhere, Tomie from Junji Ito's Tomie series]

DFF has a lot in common, from my perspective, with GFN in terms of tone, themes and even parts of it's story.

Nanno isn't doling out "justice" she doles out retributions, punishments, sometimes they're outright torturous. Whether the recipients "deserve" these punishments or not, is really up to the viewer. The show does a good job of showcasing a wide variety of characters who are unrepentant, sympathetic, and somewhere in between. The fears it plays upon are more slow burn, it boils the characters rather than setting them on fire like slashers do.

DFF is similar in this aspect, it boils the characters. Watching Non's story, you already know at the start it's nothing good. We know from the first flashback something bad has happened to Non, but it's not really something, it's many things - so many things - that have led to whatever tragedy the main group must pay for.

It's these compounding factors one after another that brings Non to a boil, and the same thing happens with Tan/New. The horror of DFF is more about getting under the skin, causing the characters discomfort by forcing them to confront the sins they've committed (is there anything more horrific than being seen? Especially if you ugly?).

I mentioned Junji Ito in reference to Girl from Nowhere, to say Ito has been influential on horror feels like an understatement. His series Tomie has been adapted into 7 different Japanese films, he's won 3 Eisner awards (the highest award you can win in America for comics publishing), along with a slew of awards in Japan, his series Uzumaki has been referenced in super popular anime like Jujustu Kaisen.

A big factor of Ito's work is body horror and psychological horror. His work unsettles, and is very visceral. Since Uzumaki was referenced in DFF I think rather than being influenced by specifically Uzumaki (which DFF doesn't have much in common with in regards to general story) I'd argue the show is more influenced by Ito's desire to unsettle.

[from Uzumaki], 1998]

Also potentially to take symbols of piety, faith and protection (the temple, the cross at the chars high school) and turn them into places of horror for the characters.

Like Ito did with the spiral motifs in Uzumaki, said Ito in an interview:

"The "spiral pattern" is not normally associated with horror fiction. Usually spiral patterns mark character’s cheeks in Japanese comedy cartoons, representing an effect of warmth. However, I thought it could be used in horror if I drew it a different way." (source)

[I am also begging y'all to check out Junji Ito's book Cat Diary it's hilarious, even more so b/c his style of art is so rooted in horror]

I think DFF is actually very Thai in it's exploration of what's unsettling and horrific to youth culture in Thailand currently. The feeling of haplessness, judgement, an inability to exert control over one's circumstances, mental health, consent, bullying, these were themes and topics explored in both seasons of GFN but also some of these were explored in The Whole Truth (2021) a Thai horror/mystery film.

There's a scene in The Whole Truth in which one of the protagonists school friends secretly films their younger sister getting undressed without her knowledge, and when caught, the classmate threatens to release the clip publicly and claim the sister is "a slut". One of the protagonists is also bullied at school - including by this disgusting classmate who they still consider "a friend" - but puts up with it in order to be in a friend group at all (this bullied char also has a physical disability which contributes to their mistreatment at school).

I think DFF is exploring a lot of these same topics but most of the characters are just gay this time around.

Okay I'm losing steam here a bit, this has gotten very long, but overall I'd argue that DFF is much more psychological horror than a slasher, in terms of it's tone, and story. Whilst invoking slasher imagery in it's directorial style.

That said it's much more in line with Thai and Japanese horror than American horror in regards to it's themes. If the series was going to be boiled down just to the basics, I'd quantify it as psychological horror mystery.

And those are my thoughts on DFF and horror, I guess lol I'm not 100% satisfied with this but god damn I'm tired this took forever lmao if y'all made it this far, bless and stay safe out there cause the ship wars are wildin out in these parts.

Check out other posts in the series:

Film Making? In My BL? - The Sign ep01 Edition | Aspect Ratio in Love for Love's Sake | Cinematography in My BL - Our Skyy2 vs kinnporsche, 2gether vs semantic error, 1000 Stars vs The Sign | How The Sign Uses CGI | Is BL Being Overly Influenced by Modern Western Romance Tropes? | Trends in BL (Sorta): Genre Trends

[like these posts? drop me a couple pennies on ko-fi]

#dff the series #dff spoilers #dff meta #dead friend forever #dead friend forever the series #chaos pikachu metas #pikachu's bl film series #fuckin a this is long #almost ran through my entire final fantasy soundtracks playlist #and that's a lot of freaking final fantasy games

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